Gender is inherent in all aspects of the music education profession: musical instruments, occupations, materials, pedagogies and preferences. Despite this, feminist theory has been accepted slowly, and is consequently poorly understood. Working generally outside of the profession's accepted topics and means of research in a type of grr-illa game practiced against more established ways of knowing, feminist theorists act as nomads, carrying out research that interrogates the exclusionary practices and discourses in which music education is implicated. This philosophical analysis includes an overview of feminist critique in music education philosophy, and discusses direct and indirect responses to this research and to feminist critique in general. My discussion is framed and grounded in the concepts of feminism(s), difference, nomads and grrl-illa games, and is interwoven with philosophical and social possibilities of taking seriously feminist critique in music education research.